This is a new series for the blog – perspectives – no input from me, just two wonderful designers setting out their stall for the choices they’re making about publishing their games. Each designer will open with an explanation, then get a followup question from their co-collaborator, with an opportunity to respond.
Today it’s Natalie (Gnat’s originals) and Evan (Sleepless Knights Games); we continue last week’s theme of publishing routes. Enjoy every word of this one as the honesty and insight is wonderful!
Over to Natalie…
Natalie: It’s funny that in basically the entire five years that I’ve been working on my game Oki Café Hoppers, I never thought I would self-publish it, and I also rarely thought about how I was going to find a publisher. I just figured when I was ready and the time was right that I would figure it out. I think self-publishing always made my eyes want to bulge out of their sockets. I am a mother and I very often act as a geographical single parent due to my spouse’s job. With limited time for myself and no partner to help with a business like that, I would prefer the opportunity to work with a publisher who has the time and experience of running a business.
Seeking a publisher has also felt a bit reminiscent of applying for jobs again (which I haven’t done in many years). I feel like it’s an interview for my design and if the game gets the job then I get to learn loads from the development process through the eyes and hands of professionals. It’s important to note that while I’m no stranger to the design process and developing products (I’ve worked professionally as a kids’ footwear designer & in soft goods/toys), I am still absolutely green in the board game industry. As of this last spring, I emerged onto the tabletop scene through playtesting events, joining our board game protohype group, and attending UKGE. Since those events, I feel like I am surging forward into new territory. Especially because my physical game is currently in another country with a publisher as we speak!
Evan: As a parent of two young boys, I completely get the difficulty in finding the time. I also see self-publishing as a real challenge because of this, but finding a publisher is also very time-consuming! What advice do you have for parents who want to design games and have them published?
Natalie: Yeah, agreed! Every part of the process in pursuing a publisher can be very time-consuming. I think that’s why I’m vigilant about embracing my profession as a “Mother” first, and letting games designer come second. That may also be what makes my perspective unique (and also privileged) – I am able to have this dream of raising children but also could potentially achieve my other dream of getting a board game published.
Contrary to what the modern world may think, it was always a dream of mine to be with my children 95% of the time. When I prioritise them over design, I am fulfilling that dream and I don’t have to worry about balancing my profession as a mother and a game designer. I feel less mum guilt or frustration towards my kids when they “get in the way” of my work. For example, when I sit down to do something on the computer in what looks to be an awesome pocket of time, and my kids go absolutely ballistic with energy that needs an outlet, I have the luxury to choose them. Their memories of me nurturing and playing with them are worth more eternal weight. I trust another opportunity will come later. We parents know how to squeeze, not squander, time better than anyone, and if our game is meant to get out there in the world, I believe it will, even if we have to move at a more glacial pace. My advice is not to beat ourselves up when we’re unable to move as fast as others, and to continue to prioritise the things that made us want to have kids in the first place.
Currently, I am sitting in a position where perhaps I should be researching the next publisher to approach, or tinkering away with any design concerns that prickle at me. However, I’ve been caught up with other ‘life’ stuff; readying my kids for back-to-school, finishing my own summer reading list, and chipping away at a never-ending list of home-life responsibilities. If I ever get published, I aspire to be a hopeful example to parents at a similar stage that we don’t have to sacrifice our family or personal health on the game design altar to get where we want to be in this industry. I have taken my time, and definitely not tried to compete with others who have more of it.
Now over to Evan
Evan: I’ve only been taking board game design seriously for about a year now, but my preferred route between self-publishing and going with an established publisher has changed more times than I can remember!
With three finished designs now ready to go (Takin’ Treasures, Mine and Dash, and FINS!), I’ve made the decision to self-publish Takin’ Treasures and pitch the other two games to publishers, and both routes still seem like huge mountains to climb for an unpublished designer like myself. With both routes, you have the same highs and lows of good playtests, bad playtests, inspired ideas that bring everything together, and scrapping designs that just aren’t working, but once the games are as finished as they need to be, that’s when I’ve discovered just how different the challenges of each route are.
For self-publishing, the biggest challenge has been building a following from nothing, and I am sorry to say that I don’t have many answers on how to do this. With the percentage of Kickstarter followers who actually back the project sitting around 10-30% on average, it’s a daunting prospect to need anywhere from around 350-1000 followers to get 100 backers. Despite this, the reason I’ve decided to stick with this route for Takin’ Treasures is because the risk is very low with a small card game (that will also be available as PnP), it gives me the opportunity to build something from nothing and see it through to the end – and I think that’s pretty awesome!
As slightly larger games, with slightly more risk to self-publish, Mine and Dash and FINS! are currently being pitched to various established publishers, and the experience has been challenging, but exciting. I’ve had to learn brand new skills, from graphic design for sell sheets, to videography for a sizzle reel, and while these have taken a little time, I’ve really enjoyed the learning process and I’m proud of the results.
It’s not all good all the time though, and even though I’m used to rejection from my career in recruitment, it is that little bit harder to take when it’s something you’ve made!
Both routes have been tough so far, but I’ve surrounded myself with some incredible and inspirational designers and publishers who have been hugely supportive (particularly those in the #BoardGameProtoHype group), which gives me the motivation to keep going and I’m confident my chance will come.
Natalie: OK, Sleepless Knights – it’s now fully sinking in why you picked your name! You have a full plate of designs, a young family, and a day job too! So are you sleeping? I see so many parallels between the two of us, especially how we started getting serious around the same time.
I think it’s exceptional that you’re running both options for your games at the same time and learning the skills necessary to do so on the fly. I’ve similarly had to figure out sell sheets and sizzle videos this way. Do you think there are any lessons that you’re learning from one side that are making things better for the other publishing route?
Evan: Great question Natalie! I think there’s been a huge amount of crossover between both routes with what I’ve learnt, but the transferable skills still need adapting for the audience.
Publishers have a LOT of submissions and very little time to look at each one, so it has taken a lot of work and learning to become more succinct in my delivery when pitching. When self-publishing, this has been a hugely valuable skill for “pitching” my game to potential backers, as similarly, they have a LOT of games to choose from on the market and very little time to look at each one. This is the same for why I’ve been learning graphic design and creating video content – publishers need to quickly see what’s engaging and why it would be good for them, and potential backers when self-publishing are the same.
The key though is understanding what your audience is looking for and adapting that message
Evan
The key though is understanding what your audience is looking for and adapting that message – potential backers need to know why it would be fun to play and why they need to buy it, and while publishers want to know this as well, they also need to know how it fits with their current line of games and be confident they can market the game for a profit. There has been a vast amount of learning needed for both routes, but I’m thoroughly enjoying learning more every day and look forward to that continuing!
Thanks to Natalie and Evan for exploring this topic today. You can find them both on Instagram, so please find and follow them, they’re making beautiful games!
There’ll be more excellent discussion from brilliant designers each week – subscribe…
